The worlds of gaming are never exactly our own, even when they look like it. Some try to replicate real places, while others try to capture the spirit of those places instead. Enotria: The Last Song, an up-and-comer in the Soulsborne world, takes the latter route. It’s not aiming to reproduce Italy the way Assassin’s Creed does but rather give new life (and new direction) to the spirit and flavor of the country. Edoardo Basile, Project Manager for The Last Song, spoke with Nerd Stash editor Dylan Chaundy and dug into how Enotria stands apart.
During the interview, Edoardo Basile explained Jyamma Games’s particular approach to storytelling and worldbuilding. As an Italian team developing a game inspired by the art and folklore of Italy, Jyamma took care to avoid damaging misrepresentations or stereotypes.
You can just be pizza, mafia, Berlusconi, Mandolinata — […], [b]ut that’s not Italy. Our mission was to make you feel Italy and not just be in Italy.
Edoardo Basile, Project Manager
The world of Enotria: The Last Song isn’t Italy, in the same way that Arkham Knight‘s Gotham isn’t New York. It’s neither a 1:1 historical recreation nor a superficial amalgam of stereotypes. It’s its own thing. Wrapped in the tapestries and frescoes of Italy’s sunbleached ruins, Enotria aims to be a Soulsborne beast unlike most we’ve seen before.
What it feels like to be in a place is often tough to describe. It’s easier to simply bring someone there and let them experience it for themselves. So far, Enotria‘s art direction and folklore-inspired story seem well-equipped to do just that. Assuming the game can tie it all together with solid mechanics and a gameplay loop worth bingeing on, this Italian Soulsborne will be one to watch.
